... theatrum erat area semicircularis...
«Et nota quod tragedie et comedie solebant in theatro hoc modo recitari: theatrum erat area semicircularis, in cuius medio era parva domuncula, que scena dicebatur; in qua erta pulpitum super quod poeta carmina pronunciabat; extra vero erant mimi, qui carminum pronunciationem gestu corporis effigiabant per adaptionem ad quemlibet ex cuius persona loquebatur. Unde hoc primum carmen legebatur mimus effigiabat Iunonem conquerentem et invintantem Furias infernales ad infestandum Herculem» («Il modo in cui si rappresentavano in teatro tragedia e commedie era questo. Il teatro era un’area semicircolare, nel cui mezzo c’era una piccola casetta, che era chiamata scena, nella quale c’era un pulpito; stando sul pulpito il poeta declamava i suoi versi; fuori, invece, stavano i mimi, i quali riproducevano con i gesti del corpo ciò che il poeta declamava, adattandolo alle parole di ciascun personaggio», Pittaluga, Voce e gesto, p. 72; Franceschini, Il commento di Nicola Trevet, p. 11). Parole che divengono immagine nell'Urb. lat. 355 il più antico tra i mss. delle Tragoediae di Seneca selezionati per il Latin Classics – The evolution and transmission of texts of specific works. Databile alla prima metà del sec. XIV, esso mostra una straordinaria miniatura a piena pagina (f. 1v) che illustra, con iconica precisione, il theatrum così come è descritto da Nicolaus Trevet, commentatore del testo senecano.
All’interno di uno spazio geometricamente definito, ecco gli attori sul palco, il poeta che declama i versi, il pubblico ‘pagante’, tutti in scena secondo il proprio ruolo, in un’azione resa esplicita dalle posture, dai travestimenti, dall’abbigliamento e soprattutto dalle mani, che si muovo e gesticolano incessantemente, a introdurre il ‘sonoro’ all’interno della pagina miniata. Si osservi il chorus, in basso: una vera e propria catena di mimi allacciati mano nella mano, gomito su gomito, come fossero intenti in una danza popolare francese (e dalla Francia arriva il manoscritto).
Urb. lat. 355, f. 1v, poeta e publicus expectans
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Urb. lat. 355, f. 1v, chorus e publicus expectans
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Sorta di best seller del tardo medioevo, tra Trecento e Quattrocento, e soprattutto in Italia settentrionale, Seneca tragico non può mancare nelle biblioteche delle élite giuridico-notarili, che avevano i mezzi per acquistare o farsi confezionare esemplari di pregio per quantità di immagini e per profusione di oro (Pal. lat. 1671, Pal. lat. 1677, Urb. lat. 356, Vat. lat. 1645, Vat. lat. 1647).
Il testo si dispone spesso su una colonna che lascia liberi ampi spazi marginali, in una mise-en-page elegante che non disdegna la possibilità di ricchi apparati di glosse e di annotazioni. Il lettore è poi accompagnato e introdotto alla narrazione attraverso le illustrazioni: dotato di una potente forza immaginifica, il testo prende il corpo dei personaggi e la materia dei colori e dell’oro, prevalentemente all’interno di iniziali istoriate (Pal. lat. 1671, Pal. lat. 1677, Urb. lat. 356, Vat. lat. 1645, Vat. lat. 1647), ma talora anche nell’animato debordare ai margini (Reg. lat. 1500) o nello spazio definito di una miniatura tabellare (Vat. lat. 7319).
Vat. lat. 1647, f. 22r - Vat. lat. 1645, f. 1r
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Reg. lat. 1500, f. 14r - Vat. lat. 7319, f. 24r
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Così, davanti agli occhi dell’antico lettore – e oggi di fronte ai nostri –, si materializzano il ritorno di Ercole dagli Inferi e la maledizione di Giunone (Hercules furens, Pal. lat. 1677, f. 1r); la macabra mensa di Tieste (Thyestes, Urb. lat. 356, f. 19r); la guerra tra Eteocle e Polinice mentre Antigone sorregge Edipo (Thebais, Urb. lat. 356, f. 34r); la morte di Ippolito trascinato sul suo carro (Phaedra, Vat. lat. 1645, f. 39r); l’auto-accecamento di Edipo e il suicidio di Giocasta (Oedipus, Urb. lat. 356, f. 59v); Pirro che uccide Polissena, Ecuba prigioniera, Ulisse e la morte di Astianatte (Phoenissae, Vat. lat. 7319, f. 88v); le vicende di Medea, di Giasone e dei loro figli (Medea, Vat. lat. 1645, f. 82r); la morte di Agamennone per mano di Clitemnestra e di Egisto (Agamemnon, Pal. lat. 1677, f. 142v); Nerone che condanna a morte Ottavia (Octavia, Vat. lat. 1647, f. 141v); la morte di Ercole (Hercules Oeteus, Vat. lat. 1645, f. 119r). Si tratta di un ciclo illustrativo fisso – l’immagine è collocata a introdurre la tragedia –, ma cambiano le scelte narrative operate di volta in volta dai miniatori, in relazione al modello iconografico e alle esigenze della committenza, tradotte da un ordinator, in un processo che porta così a un certo numero di varianti di immagine.
Pal. lat. 1677, f. 1r, il ritorno di Ercole dagli Inferi e la maledizione di Giunone - Urb. lat. 356, f. 19r, la macabra mensa di Tieste
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Urb. lat. 356, f. 34r, la guerra tra Eteocle e Polinice mentre Antigone sorregge Edipo - Vat. lat. 1645, f. 39r, la morte di Ippolito trascinato sul suo carro
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Urb. lat. 356, f. 59v, l’auto-accecamento di Edipo e il suicidio di Giocasta - Vat. lat. 7319, f. 88v, Pirro uccide Polissena, Ecuba prigioniera, Ulisse e la morte di Astianatte
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Vat. lat. 1645, f. 82r, le vicende di Medea, di Giasone e dei loro figli - Pal. lat. 1677, f. 142v, la morte di Agamennone per mano di Clitemnestra e di Egisto
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Vat. lat. 1647, f. 141v, Nerone condanna a morte Ottavia - Vat. lat. 1645, f. 119r, la morte di Ercole
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Attraverso lo specchio del cristianesimo, delle Tragoediae sono accentuati soprattutto gli aspetti etici, in rapporto all’idea della punizione dei potenti e del loro destino investito tragicamente dai capovolgimenti della Fortuna. La prima esegesi del testo senecano è quindi affidata a tali cicli figurati, che commentano, enfatizzano, sottolineano con il linguaggio della figura ciò che le parole raccontano in un altro modo.
